Richmond dispatch. [volume] (Richmond, Va.) 1884-1903, 1887-03-27

cfp mt. IS full OF Classic beauty. a
Grand scene follows between Iago and
Casio. The mischievous cunning OF
lego is splendidly described in this
oct and so also is the jealousy
of Otbello. With the diabolical
"credo" Of Iago, Boito. the libret-
jst. meant to present q companion
niece of the monologue of Barnaba in
Ponciellfs Giaconda." This number
Is n marvel of description, and the mu-
sic accompanies the words with all the
effect of marvellous nudnccs, express
ING every shade of meaning. To give
edeouate utterance to such a piece OF
"sroken music" not only requires a
consummate actor, as Maurel is through
out the work, but a singer of large
Towers.
There is a beautiful chorus around
Tesdemona, accompanied by mandolins
in a charming arpeggio figure, but its
,llect is lost IN the great spaces of La
Scala. The contrast OF this gentle
music with the malignant whispers OF
Iago 10 Othello is striking. The Oft
repeated word vigilate be watch
fni-is full of terrible significance, and
the musical accent could not be more
true. The following scene between
Dosdemona and Othello is purely Yer
dian. 1t consists of short dialogue,
in which the violiDs give fine express
sion TO the mood of DesdemOna, who
iutercedes with the Moor for Cassie.
At the same time the orchestra de-
scIibes the agitation of Othello.
II is at this moment that the famous
incident of the handkerchief is intro
duced. The quartette sung by Iago,
Fmilia, Othello, and Desdemona is one
of the chief numbers Of the opera. All
the conflicting emotions are graphically
expressed, but do not think that this
qnartette will overshadow the famous
Guartette in Rigoletto." In the duet
between Iago and Othello at the end of
the act the tenor music, as i'll all parts Of
the opera, is a mastery expression OF oil
that torments the soul of the Moor.
Here Othello sings his farewell to the
past and its memories with pathos that
moves every heart. Othello grows
heated in temper and, demanding proof
Of IesdemonG's per.idy, takes Iago by
the throat and hurls him TO the ground.
The musical imitation OF his grief and
rage is perfect. Perfectly theatrical in
lis eject is lagos story OF Cassie calling
for Desdemona in his dreams. When
Othello learns that Cassie has the hand
kerchief his anger bursts forth with re-
newed force. A solemn and terrible
cath follows in recitative, accompanied
by the tremolo of the violins, while the
bases give ont the stretta-finale OF the
duet, which is sung first by Iago and
then by both with accompaniment OF
brass, trihe noisy. The motive is
broad, noble, and such as to require
formidable vocal powers. This duet
moves the audience to the most un-
bounded enthusiasm, and convinces
ne that Verdi has solved the problem
of the human drama, as Wagner did
that OF the legend.
The third act begins with short but
fnely-construoted prelude, whose theme
is that of lagos song: "E' I'M idea
fosca, livida cieca, already heard in
tbc preceding act The duet between
ncsdemona and Othello isrich in strong
phrases depicting the jealousy aroused
hy the handkerchief. And here let me
note that the most tragic moments in the
music Of the last two acts occur when
ever Cthello is reminded of the 'ker-
chief. This word, so often repeated IN
different numbers, detracts, in my
opinion, from the effect OF the music.
1t must be confessed, however, that the
korchief is a capital hinge on which to
hang tie final catastrophe, and that ii
was not possible to avoid naming it fire.
qucntly.
Cthello, being left alone, is detected.
He sings a peculiar and strongly
impressive monologue above the strain,
of the yiolins. Instead of introproducin !
an angry burst, as might be expected,
Verdi has produced truly psychologist
cal effect. Othello speaks this mono
logue very slowly in mournful man
nCr, as if he were cOmmuning with hl'
own sOrrow-stricken soul. while Tho
orchestra plays a sad melody, broker
now and then with a descending scale
inexpressibly sad in its effect. TIL,
number ends with a melody as fresl
ard vivid rs if Verdi had written j
forty years ago.
Now we come to the famous "equi
vocal" trio (tcrzeHo degH cquiroc0
Iago cunningly addresses Cassie so a:
TO elicit replies which are incorrectly
interpreted by Othello concealed be
hind column. Cassie shows the 'ker
chief which he has found in his room
and Othello, seeing it, has already slaiI
Desdemona in his heart. The music i
splendid description of the variou
emotions OF the scene, which is Ill
tcrproted with sublime art by sing
ers and orchestra. Then follow
the great fndie ending this act
The Venetian Ambassador enter
to the flourish of trumpets and thunde
of artillery. Desdemona again inter
cedes for Cassie. Othello, blind wit
fmy. brings her to her knees in suppli
cation. This number is, to my mind
the most imposing feature of the Who'll
work. but of such difficulty that tn
question of its performance will be
serious matter in some theatres wher
Ctello to be presented. The pre-
dominant theme Is given out by Des
donona. 1t is expressive, but does no
seem to be quite new.
/ chorus in beautiful harmony wit
this strain follows, and as the melod.
progresses the full orchestra Is Intro
duced with 6 superb effect of sorority
Here begins the SCstettO with chorus,
composition OF marvellous structure, in
dependent of the orchestra, which III
part Of its own altogether ditleren
from the parts of the singers. The I'M
instructed ear fails to catch the splendo
Of this music and it does not win sue
applause as it deserves, though ed
NIT that now, after six performances, tn
/ audiences at Ia Scala are beginning :
| understand it. After the concerto
piece Othello, hot with rage, student
turns to the crowd behind him and bid
| every one to fly. "Fuggite, tutti ! Fug
cite Otello i" Accordingly all depal
save Iago. Othello, seized with a p;
roxism, faints and falls to the grounC
Iago, as he lies there. sneers at hin
CRYING: "Here is the lion |" TIL
scene detracts from the effect OF I'll
finale, but Verdi retained it out of n
spect TO the poet.
And now we come to the fourth On
last act of the opera. 1t seems to II
,bot Verdi must have written il at OF